27 June 2013

Modern Vampires of the City

This week has been totally just insanely intense. It's the end of fiscal year in our sector in addition to the beginning of the summer exhibition season so things are inexcusably intense around the office. In all honesty, I haven't taken a real substantial lunch break in something like three weeks but holy cow, after June 30th things will return to normalcy. My apologies for the lack of blogging to all of you who read this, and my second round of apologies for all of your IRL friends who have been tolerating my new levels of crazy. You all are superb for sticking by me through thick and thin.

Now, with all that off of my chest, it is my turn to state (though it's already been stated by everyone ever) that the latest Vampire Weekend record is the tits. I have listened to it on repeat since it was released on May 14th, and dear god what pleasure does it give me to hear my boyfriend with impeccable musical taste step off of his high horse and say that he "actually likes this album."

Hannah Hunt is by far my favorite track, it reminds me of the Walkmen's Canadian Girl for it's hushed drumming and quiet soulful singing. It makes me want to pack up a small suitcase, grab a friend by the hand, leave our phones behind, and just disappear. Is it weird that when I listen to it, I can actually smell a wood fire and hear wind blowing through the trees? But beyond the glory of Hannah Hunt, throughout the album there are weird and insightful recorded monologues, plenty of rich Baroque piano ditties, catchy riffs, all of the pretension and art/history references one would expect, and a lot of tracks that sound like hit singles. This record in particular feels as though Rostam had a much more prominent role in the production and songwriting mechanisms. Moments in the harmonies and piano playing are reminiscent of Discovery, one of Rostam's side projects, and I was glad to hear it. From start to finish, the record feels complete. It sounds like it was done with purpose and an attention to detail that was vacant from their two previous LPs. Loads of reviews of Modern Vampires of the City are deeming this record "mature" but really, I think it's a Vampire Weekend fully realizing their sound and style. Musically speaking, these boys have become men. And I can't get enough of them.

I just peeped their vid for Diane Young, and can I just say that it is about damn time a band released a video on par in weirdness and confetti usage akin to Elephant Gun? For your viewing pleasure, and please go ahead and accept this as your official 2K13 summer jam:


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